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  </channel><item rdf:about="https://www.equator.org/articles/scenes-of-the-crime-sacco">
    <title>Scenes of the Crime • EQUATOR</title>
    <dc:date>2026-06-12T09:21:37+00:00</dc:date>
    <link>https://www.equator.org/articles/scenes-of-the-crime-sacco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why an Indian publisher dropped Joe Sacco’s new book on a riot in north India"

...

"In The Once and Future Riot, Joe Sacco narrates the explosion and aftermath of Hindu-Muslim riots that occurred late in the summer of 2013, in the Muzaffarnagar district of Uttar Pradesh. Sacco’s chronology is granular, and his art feels hectic and thronged, as if to convey the tumult and panic of those weeks. But he also asks the question: why do such riots happen? In this case, he concludes, political parties – and specifically the Bharatiya Janata Party, with its Hindu nationalist ideology – stood to gain from murderous violence before an election.

In India, the book was to have been distributed by Penguin Random House, but late last year, Sacco received a five-page document full of objections from the company’s legal team. A few were fact checks. Many of the remarks were driven by the worry that descriptions of politicians connected with violence – including by people Sacco interviewed – could be defamatory. In some instances, the company was concerned that his text would be “construed as inflammatory” or “causing religious offence” – although reporting on a communal riot can hardly avoid citing the offensive language that feeds the blaze. At one point, a rightwing Hindu leader tells Sacco that India’s Muslim population needs to be curbed because “just like pigs they are creating children”. The legal document advises: “remove the word ‘pigs’ just say Muslims are multiplying.” 

(A Penguin Random House India executive has said that no one responded to the list of “red flags” in the document. “We are very clear about this: if we know there is an inaccurate map and no changes are forthcoming, we will not do it,” he said. “We have decided there will be no distribution of the book due to these red flags not being attended to.”)

Below, we publish a short excerpt from The Once and Future Riot, about the gathering storm. After two young men from the upper-caste, landed Hindu Jat community stab a Muslim man to death, allegedly for harassing their sister, they are in turn killed by a mob. In the village of Nagla Mandaur, Jat leaders call a meeting – a panchayat – at which tens of thousands of people turn up, demanding to take justice into their own hands."]]></description>
<dc:subject>india joesacco comics 2026 hindunationalism uttarpradesh penguinrandomhouse</dc:subject>
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    <title>7 books that helped me learn from my kids - Austin Kleon</title>
    <dc:date>2026-05-26T23:30:44+00:00</dc:date>
    <link>https://austinkleon.substack.com/p/7-books-that-inspired-dont-call-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some recommended reading that inspired Don’t Call It Art"]]></description>
<dc:subject>austinkleon children 2026 sylviafein drawing horses lyndabarry comics coritakent sistercorita janstewart art moomins tovejansson johnholt howwchildrenlearn learning howwelearn corydoctorow growingwithoutschooling sarahruhl sallymann jennyoffill maggienelson parenting mothers jameskochalka gws</dc:subject>
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    <title>ChatGPT Dads - Graphic Rage with Aubrey Hirsch</title>
    <dc:date>2026-04-11T06:23:21+00:00</dc:date>
    <link>https://aubreyhirsch.substack.com/p/chatgpt-dads</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Sam Altman said he “cannot imagine figuring out how to raise a newborn without ChatGPT,” it awakened an anger deep inside me that only internet bros can inspire. So I did what I do when I get angry and wrote a comic about it! Read on to hear all about the downsides of fathers outsourcing the mental work of parenting to AI. (Barf.)"

[viaL
https://2ndbreakfast.audreywatters.com/and-i-would-have-gotten-away-with-it-too-if-it-werent-for-those-pesky-kids/ ]]]></description>
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    <title>xkcd: Urban Planning Opinion Progression</title>
    <dc:date>2026-03-20T04:30:25+00:00</dc:date>
    <link>https://xkcd.com/2832/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>xkcd comics cars bikes biking urbanplanning cities safety transit transportation pedestrians walking traffic</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=2yVJffNplJc">
    <title>The New Satanic Panic Is Here - YouTube</title>
    <dc:date>2026-01-24T17:16:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2yVJffNplJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.usermag.co/p/the-new-satanic-panic-is-here ]

"Are Smartphones & Social Media Really Causing a Teen Mental Health Crisis?

Are smartphones and social media actually destroying teen mental health, or is this just another moral panic? I critically examine the growing narrative that phones, apps, and screen time are responsible for rising anxiety, depression, and harm among teenagers. 
 
These claims, popularized by politicians, journalists, interest groups like the Heritage Foundation, and authors like Jonathan Haidt (The Anxious Generation), are being used to justify mass surveillance laws, deplatforming marginalized people, and implementing policies that actually harm kids and reward big tech. 
 
They allow lawmakers to scapegoat users, and institute draconian surveillance laws instead of enacting meaningful regulation. Haidt and others boosting this moral panic have pushed debunked claims about how social media can turn kids LGBTQ. Haidt has pushed false and misogynistic claims that young liberal women suffer from more "anxiety." He is on the board of Bari Weiss' unaccredited reactionary right wing University. 

Using peer-reviewed studies, media analysis, and real-world examples, this episode breaks down:

- Why smartphones became the default scapegoat for teen mental health
- How correlation is repeatedly confused with causation
- Ho weak and misleading data is driving major public policy decisions
- How moral panics spread through podcasts, news media, and social platforms
- Who is actually harmed by phone bans and social media crackdowns
- Why girls, LGBTQ youth, and marginalized teens are the most harmed

I also explore how internet scares like the Momo Challenge illustrate the dangers of fear-based policy making, and why banning technology doesn’t solve any of the root issues of kids' mental health issues like social isolation, economic stress, lack of mental health care, and inequality.

If you’re interested in:

- Teen mental health
- Social media & smartphones
- Internet culture and moral panics
- Education policy and school phone bans
- Digital rights and youth safety

this video will challenge what you’ve been told by the mainstream media, but please keep an open mind!"]]></description>
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<item rdf:about="https://www.robinsloan.com/moonbound/at-work-alone/">
    <title>The master at work, alone</title>
    <dc:date>2026-01-05T07:31:30+00:00</dc:date>
    <link>https://www.robinsloan.com/moonbound/at-work-alone/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Going solo

What do you say about Hayao Miyazaki, about whom so much has been written, upon whom so much praise has been heaped? There’s your clue, in my first sentence: I want to talk about Hayao Miyazaki, alone, not Studio Ghibli.

(If I was going to talk about Studio Ghibli, I’d talk about Kiki’s Delivery Service, my favorite: which proves, definitively, that you can tell a story that captivates with hardly any conflict at all.)

Before there was an animated movie titled Nausicaä of the Valley of the Wind, there was a manga, which Miyazaki began in 1982, writing and drawing it himself, serializing it in the magazine Animage. (Work produced in these years, 1979-1983 or so, always triggers deep nostalgia. I think of baby Robin burbling unaware in far-off Illinois as newsstands in Tokyo begin to circulate this work that will, decades later, mean so much to him … )

[image]

Miyazaki was apparently pleased with the story, because he adapted it almost immediately into an animated movie, which appeared in 1984. Its success led directly to the founding of Studio Ghibli. (Anime fans will enjoy this nugget: a very early-career Hideaki Anno was one of the movie’s animators.)

But Miyazaki didn’t stop drawing. All throughout the 1980s and early 1990s, as Ghibli released Castle in the Sky, My Neighbor Totoro, and more, he toiled on the manga—when? at what hour??—steadily expanding its world, pushing it far beyond the bounds of the movie. It is a sci-fi fantasy in the Dying Earth subgenre, with rich ecological themes, a bright thread of quasi-medieval adventurism, some excellent swords. Yes, Moonbound drank from this well.

The manga he rendered in pencil, without an inking pass, yet his line is so sharp and sure there’s hardly anything “rough” about it. I mean!

[image]

Like most manga, it was an improvisation, always finished at the last minute. Or, not always finished: Miyazaki’s apologies for missing installments are a mini-genre unto themselves.

Fans of the Ghibli movies tend to talk about their subtle moments—all the sensitive interstitial motion—and they are right to do so. The movies are captivating, totally convincing, all without much explicit worldbuilding. They do a lot with a little, and that little is nearly all image.

Nausicaä the manga, by contrast, is totally built out. Its world has a clear history; we meet competing cultures with different languages; there’s a map! The fusion of aesthetic elements, the images Miyazaki has chosen, the resonances he has dialed in … it’s all pitch-perfect, just incredibly cool, and there is a LOT of it.

If you’ve seen the movie but never read the manga, you are missing out on huge chunk of story: a crescendo and conclusion of a whole other magnitude.

In particular, I think often of Miyazaki’s portrayal, near the finale, of a faction of dead souls who seek to exert influence on Nausicaä’s present. It is, obliquely, one of the best depictions I’ve seen, in art, of capital:

[image]

I read Nausicaä the manga when I was in college, the year 2000. I remember plowing through the four dense paperback volumes, as glued to those pages as I’ve ever been to anything. My response combined enjoyment with astonishment: that someone—anyone—one person—could DO this. I’ve written about imagination as a muscle, and if Miyazaki, in Nausicaä, doesn’t venture quite as far in time and space as Iain M. Banks, he adds a profound visual dimension. From his confident pencil springs a whole future ecology.

I love fiction, and animation, and video games—I really am enchanted by all media; you know this by now—but/and I believe that comics are the best. Maybe you don’t think there can be a “best” medium. You are wrong.

My judgment has to do with the balance of uncompromising authorship with spectacular effects, of interiority with exteriority. Maybe it’s easiest to say: comics are the richest medium that one person can manage alone.

Most of Hayao Miyazaki’s work was accomplished in deep collaboration. If he is the acknowledged auteur of the Studio Ghibli movies, they depend on the craft and care of many other artists. Nausicaä the manga, he did alone … and as much as I love the Ghibli movies, I love Nausicaä more. I love its scope, its personalities, its politics.

I’m not much of an artistic collaborator; I always want to do everything myself. This impulse, consistent throughout my life, is probably stupid, definitely limiting, but/and, it does open up a few narrow, powerful opportunities: and Nausicaä of the Valley of the Wind shows just how far they can go."]]></description>
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    <title>A cartoonist's review of AI art - The Oatmeal</title>
    <dc:date>2025-10-09T03:56:28+00:00</dc:date>
    <link>https://theoatmeal.com/comics/ai_art</link>
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<item rdf:about="https://www.youtube.com/watch?v=Y6LT0Wux4P4">
    <title>Tunde Adebimpe - Full Performance (Live on KEXP) - YouTube</title>
    <dc:date>2025-10-01T17:40:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Y6LT0Wux4P4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["http://KEXP.ORG presents Tunde Adebimpe performing live in the KEXP studio. Recorded August 6, 2025.

Songs:  
Ate The Moon 00:45
Drop 04:50
God Knows 09:44
Magnetic 13:23

Tunde Adebimpe - Vocals
Wilder Zoby - Keyboard
Jaleel Bunton - Guitar
Jahphet Landis - Drums

Host: Cheryl Waters
Audio Engineer: Kevin Suggs
Mastering Engineer: Julian Martlew

Cameras: Jim Beckmann, Carlos Cruz, Scott Holpainen & Luke Knecht
Editor: Jim Beckmann

https://tundeadebimpe.bandcamp.com
http://kexp.org "]]></description>
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<item rdf:about="https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html">
    <title>How Anime Took Over America: From Pokemon to Demon Slayer and Dragon Ball Z - The New York Times</title>
    <dc:date>2025-09-10T06:44:37+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html</link>
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<item rdf:about="https://craigmod.com/ridgeline/158/">
    <title>A Walking Man — Ridgeline issue 158</title>
    <dc:date>2025-09-03T20:37:53+00:00</dc:date>
    <link>https://craigmod.com/ridgeline/158/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The comic is about an (unnamed) man who walks. An extremely norm-core, middle-aged, dad-bod dude who walks. He seems to be in a heterosexual marriage with no children. In the very first chapter he and his (unnamed; sort of? named later? a childhood friend?) wife acquire a dog and name it Yuki (“snow”).

I love the stories in this book so much. They are a manual to life in broad panels. This book says: Look, this is all you need, just these few things. The man walks his middle-class suburban streets. It is safe. There is no violence here. People are taken care of. He walks without a phone, without distraction. He is present and controls his attention. He is happy to get turned around. He is polite and delighted by everyone and everything. A wayward football hits his head and knocks off his glasses. The children apologize profusely. He is not phased, this Walking Man. His glasses are now broken. He is astigmatic. The world is universally fuzzy. He walks with Yuki and Yuki gets excited about something. He puts on his broken glasses and sees a rabbit split into shards. He is betwitched by this. When he returns home his wife is shocked by the broken glasses. No, no, he says. Try them on. It’s fun isn’t it? And then with the glasses off, we see the fuzzy world through his eyes in a final panel and he says, It’s nice like this, too, for a little while longer."

...

"The Walking Man knows how to live. Walking, one day, he meets another man in the nearby forest. This man is a bird watcher. Take a peek? offers the man, who has a fancy bird-watching telescope. Oh! our walking man says, placing his eye to the eyepiece. He sees a bird. What bird is this, he asks? The old man tells him. Later the Walking Man walks to the library. He takes out a book about birds. He looks up the bird. Yes, indeed, this was the bird. And, oh, look at that — there’s another one I’ve seen around."

...

"Like this, we are shown, un-didactically what a good life can look like. A somewhat radical life, in many ways.

The Walking Man provides rules for all scenarios. If it begins to rain: Look up and close your eyes and feel the drops on your face. After a typhoon? Go out for a walk, remove your loafers to wade through puddles (yuck) and climb under fallen trees in your slacks. The dirt will be washed away. If you spot a rooster on a fence, climb up as Yuki barks at it, and give life a little rooster wiggle. If you find a dropped case of lipstick, pick it up and leave it on a bench. In the summer, as you carry home on your shoulders huge bamboo shades for your porch, enjoy the sweat — take breaks under bridges and in the forest — knowing that once installed, beer on your eaves in the shadows of that shade will have never tasted sweeter. Have a silent walking race with an old man with a cane. He’ll wait for you on the other side of the train tracks. Walk the narrow alley you’ve never before walked. Help the old woman find the shop she’s looking for. Buy Christmas cake for your partner and eat it at night together next to the swings in a park. Yummy. Yes, yummy. Meet a man fishing and have him tell you, Not catching anything is why I’m here. Get off your train one stop early and walk the rest of the way to work — marveling the whole way at how just one stop difference can rearrange the entire day."]]></description>
<dc:subject>walking life living slow small comics manga craigmod jirotaniguchi 2023</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f63302e5ea9d/</dc:identifier>
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<item rdf:about="https://www.wired.com/story/zines-social-media-power/">
    <title>Social Media Replaced Zines. Now Zines Are Taking the Power Back | WIRED</title>
    <dc:date>2025-06-29T04:09:54+00:00</dc:date>
    <link>https://www.wired.com/story/zines-social-media-power/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At a time of fleeting memes and cultural platforms operated by multibillion-dollar companies, an old mode of creativity and community-building gets a second life."

...

"Communication constantly evolves, along with the way people want to receive information. As social media replaced zines, the messages traveled farther, but their permanence dissipated. Friendster fizzled. Tumblr will never be what it was. Posts on X or TikTok get drowned in the churn of what’s trending or what platform owners want to boost. Handmade zines can last much longer. “Writing things down on paper has value,” Spooner says. “It’s more permanent.”
As fears of surveillance and authoritarianism grow, the zine community may provide a means to organize under the algorithmic radar, in a format less beholden to the whims of multibillion-dollar social media companies. A vision of the future copied from the past."

[archived:
https://archive.ph/EUMqv ]]]></description>
<dc:subject>zines media socialmedia 2025 social culture cbrandonogbunu creativity community memes resistance lowtech meta tiktok facebook instagram ai artificialintelligence web online internet platforms mariamekaba blackzinefare donaldtrump health healthcare diy politics organizing mininguyen voice audience jamesspooner 1993 resurgence tumblr comics markzuckerberg blackzinefair jenniferwhite-johnson neurodivergence disability subcultures solidarity socialjustice anarchism palestine gaza surveillance us hate analog print pleunipennigns friendster authoritarianism punk communication algorithms handmade making writing paper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:10b551fa3ffc/</dc:identifier>
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</item>
<item rdf:about="https://www.thedial.world/articles/news/issue-28/mafalda-english-translation">
    <title>The Six-Year-Old Who Explained the World — The Dial</title>
    <dc:date>2025-05-22T20:36:41+00:00</dc:date>
    <link>https://www.thedial.world/articles/news/issue-28/mafalda-english-translation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mafalda, the Argentine comic strip heroine, took on war, dictatorship and her parents."]]></description>
<dc:subject>mafalda argentina 2025 dirtywar quino comicstrips comics dictatorship 1960s 1970s politics cowardice complacency adults criticism antifascism primeraplana jacobotimerman capitalism anticapitalism latinamerica joaquíntorres-garcía southamerica chile pinochet umbertoeco responsibility isabellacosse juancarlosonganía coup joaquínsalvadorlavadotejón vietnamwar consumerism karlmarx jillschoolman frankwynne uruguay rightwing farrright resistance charlesschulz guerrasucia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:21ccbe7aea31/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quino"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dictatorship"/>
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</item>
<item rdf:about="https://brecha.com.uy/para-papa/">
    <title>¡Pará, papá! - Semanario Brecha</title>
    <dc:date>2025-05-14T18:56:32+00:00</dc:date>
    <link>https://brecha.com.uy/para-papa/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["José Mujica fue uno de los personajes más dibujados por Ombú. En sus trazos aparece retratado descarnadamente: desnudo en sus gestos y sus muletillas, en su forma de concebir y hacer política. En esta breve selección quedaron muchos Mujicas por fuera, pero estos dibujos -una forma de hacer periodismo particularmente eficaz- nos muestran el recorrido hacia y durante su presidencia. Aguzado estuvo el ojo -u hojo- de Ombú cuando se posó sobre las disputas entre José Mujica y Danilo Astori, una vez que el primero derrotó al segundo en la interna frenteamplista de junio de 2009. También respecto a los fantasmas que buscaron despertar sus contrincantes, Jorge Batlle, Luis Alberto Lacalle y Julio María Sanguinetti, cuando su trayectoria hacia la Presidencia era ya imparable. Ombú nos muestra a un Mujica complaciente respecto a los militares e insolente con sus pares vecinos. También al ex guerrillero aclamado, el presidente más pobre del mundo, un personaje mediático y digno de la ficción. A la distancia, sus dibujos nos permiten aproximarnos mucho más que desde otros ángulos. Allí están las mejores ocurrencias y las peores miserias de Mujica, o lo que es lo mismo: sus contradicciones."]]></description>
<dc:subject>pepemujica josémujica ombú 2025 uruguay politics comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://redgoldsparkspress.com/projects/7180180">
    <title>The Problematic Author - Maia Kobabe</title>
    <dc:date>2025-04-19T05:21:55+00:00</dc:date>
    <link>https://redgoldsparkspress.com/projects/7180180</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first 16 pages of this zine were written in 2019, and the following 12 pages in 2023. A mediation on loving flawed media and feeling betrayed by a childhood hero."]]></description>
<dc:subject>harrypotter comics jkrowling maiakobabe 2019 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6c6c3668a714/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=ncH0-q9OXco">
    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord. 

Directed and produced by Branka Bogdanov in 1989."]]></description>
<dc:subject>1989 documentary brankabogdanov situationist guydebord history film experience everyday reevaluation art artmarket 1957 1972 society baudelaire flaneurs flaneur flâneurs flâneur revolt agitation commodification commercialization cosiodiarroscia avantgarde letteristinternational asgerjorn giuseppepinot-gallizio cobraartists cobra thespectacle constantnieuwenhuys resistance alienation massmedia consumerism politics anarchism anarchy passivity activity doubt filmmaking comics graffiti streetart aesthetics renegades change changemaking derive drift drifting détournement detournement cartoons foundart collage bricolage seeing howwesee unitaryurbanism utoipa games play playing theory societyofthespectacle capitalism images imagery modernity production accumulation artmaking making modification modifications alteration criticism painting anticapitalism thought thinking howwethink urban urbanism robertoohrt architecture place life living time industrialization adaptability leisurearts artleisure jean-lucgoda</dc:subject>
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</item>
<item rdf:about="https://www.theverge.com/c/24278723/comic-baby-monitor-surveillance-history-tech">
    <title>Comic: how to watch a baby</title>
    <dc:date>2024-12-13T22:16:30+00:00</dc:date>
    <link>https://www.theverge.com/c/24278723/comic-baby-monitor-surveillance-history-tech</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>parenthood surveillance babies children parenting comics kristenradtke history technology maternity 2024</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:960135398104/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
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</item>
<item rdf:about="https://www.tcj.com/author/joe-sacco/">
    <title>Joe Sacco, Author at The Comics Journal</title>
    <dc:date>2024-09-10T18:59:22+00:00</dc:date>
    <link>https://www.tcj.com/author/joe-sacco/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Articles and Reviews by Joe Sacco

The War on Gaza – 7.2.24
The War on Gaza – 6.25.24
The War on Gaza – 6.18.24
The War on Gaza – 6.11.24
The War on Gaza – 5.28.24
The War on Gaza – 5.14.24
The War on Gaza – 5.7.24
The War on Gaza – 4.9.24
The War on Gaza – 3.12.24
The War on Gaza – 2.23.24
The War on Gaza – 2.13.24
The War on Gaza – 2.6.24
The War on Gaza – 1.31.24
The War on Gaza – 1.26.24"

[all also published in these archives:
https://chrishedges.substack.com/archive ]]]></description>
<dc:subject>joesacco 2024 palestine israel genocide ethniccleansing us joebiden democracy benjaminnetanyahu death destruction comics gaza</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1a580449c359/</dc:identifier>
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<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/21504857.2024.2356417">
    <title>Full article: Consulting the map: Bil Keane’s dotted-line drawings in The Family Circus and comics cartography</title>
    <dc:date>2024-09-07T00:31:25+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/21504857.2024.2356417</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This essay gives much-needed attention to what are commonly known as ‘the dotted-line’ comics in Bil Keane’s popular newspaper series, The Family Circus. These beloved instalments traced the pathway of one of the child characters – usually Billy but occasionally Jeffy – as they travelled through the house, around the yard, or across the neighbourhood to complete some task. Together with being a delightful Sunday feature, Keane’s dotted-line compositions contain complicated critical, cultural, and creative operations. From their largely unknown historical touchstone to their complex narratological, temporal, and semiotic workings, these instalments both merit and reward close critical analysis. The dotted-line drawings are noteworthy for another reason, though: they call attention to the role of maps and mapping in comics as a whole. Visual charts, topographic drawings, and schematic diagrams have a long, rich, and important history in sequential art in the United States. The Family Circus offers both a poignant example of this tradition and an equally productive entry point for examining it. The dotted-line drawings in the series ostensibly document Billy or Jeffy’s pathway around the neighbourhood. As this essay demonstrates, however, what these drawings ultimately do is chart a pathway into new critical territory: comics cartography."

[via:
https://kottke.org/24/08/mapping-cinematic-paths ]]]></description>
<dc:subject>maps mapping cartography comics bilkeane familycircus michelleannabate 2024 comicstrips movement</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=s0ssAtOn6I0">
    <title>Writer Orhan Pamuk | A Good Novel Should Make Us Feel the Passing of Time | Louisiana Channel - YouTube</title>
    <dc:date>2024-08-20T21:19:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=s0ssAtOn6I0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["According to Nobel Prize-winning author Orhan Pamuk, great novels should evoke a profound sense of the passage of time. In this interview, Pamuk contemplates his own mortality while reflecting on why the experience of time is central to the art of storytelling. 

Pamuk explores the narrative techniques employed by literary giants like Joseph Conrad and Virginia Woolf to manipulate readers' perceptions of time. 

He admires how Thomas Mann's The Magic Mountain effectively suspends the reader in a timeless space, making them "forget about the passing of time." Pamuk also notes how Conrad's complex narrative structures, as seen in Nostromo, challenge conventional storytelling by disrupting chronological order, although he humorously admits, "I don't advise that too much to my readers or to would-be writers."

The author also discusses how his own works reflect his deep engagement with time, both aesthetically and technically. He explains how the structure of chapters in a novel can serve as markers of time, allowing readers to experience the "life's pace of passing time" in contrast to the narrative's pace. "Chapters in novels help us to feel the existence of time," Pamuk notes, highlighting the subtle ways in which time permeates his storytelling.
Pamuk acknowledges that time becomes even more precious with age, intensifying the existential questions that arise about life's meaning. "The most valuable thing, the time is finishing," he remarks, underlining the urgency that time imposes on both life and art.

Orhan Pamuk, born in Istanbul in 1952, is one of Turkey’s most acclaimed novelists. He received the Nobel Prize in Literature in 2006 and is known for works such as My Name is Red (2001), Snow (2004), and The Museum of Innocence (2009). ‘A Strangeness in My Mind’ (2015) and ‘The Red-Haired Woman’ (2017) and Nights of Plague (2022) He is also the recipient of numerous other prestigious literary awards such as the 2002 Prix du Meilleur Livre Étranger and the 2003 International Dublin Literary Award. Orhan Pamuk lives in Istanbul, Turkey

Orhan Pamuk was interviewed by Malou Wedel Bruun at Admiral Hotel, Copenhagen, in February 2024.

Camera: Jakob Solbakken 
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024.

Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet, C.L. Davids Fond og Samling, and Fritz Hansen."]]></description>
<dc:subject>orhanpamuk time novels thomasmann magicmountain williamfaulkner josephconrad virginiawoolf timepassing reading howweread writing howwewrite warandpeace tolstoy vladimirnabokov timepassage 2024 henryjames comics comicbooks experience life death human humans perception salvadordalí objects literature storytelling meaning meaningmaking change art painting sculpture architecture space</dc:subject>
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</item>
<item rdf:about="https://kottke.org/18/10/nationalism-isnt-patriotism">
    <title>Nationalism Isn’t Patriotism</title>
    <dc:date>2024-06-12T02:31:52+00:00</dc:date>
    <link>https://kottke.org/18/10/nationalism-isnt-patriotism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At a time when fascism & authoritarianism are creeping into the global politics of the developed world, it’s useful for us to reacquaint ourselves with the difference between nationalism and patriotism. In the wake of World War II, George Orwell wrote an essay called Notes on Nationalism (https://www.orwellfoundation.com/the-orwell-foundation/orwell/essays-and-other-works/notes-on-nationalism/ ). The first two paragraphs define nationalism and contrast it with patriotism:

<blockquote>Somewhere or other Byron makes use of the French word longeur, and remarks in passing that though in England we happen not to have the word, we have the thing in considerable profusion. In the same way, there is a habit of mind which is now so widespread that it affects our thinking on nearly every subject, but which has not yet been given a name. As the nearest existing equivalent I have chosen the word ‘nationalism’, but it will be seen in a moment that I am not using it in quite the ordinary sense, if only because the emotion I am speaking about does not always attach itself to what is called a nation — that is, a single race or a geographical area. It can attach itself to a church or a class, or it may work in a merely negative sense, against something or other and without the need for any positive object of loyalty.

By ‘nationalism’ I mean first of all the habit of assuming that human beings can be classified like insects and that whole blocks of millions or tens of millions of people can be confidently labelled ‘good’ or ‘bad’. But secondly — and this is much more important — I mean the habit of identifying oneself with a single nation or other unit, placing it beyond good and evil and recognizing no other duty than that of advancing its interests. Nationalism is not to be confused with patriotism. Both words are normally used in so vague a way that any definition is liable to be challenged, but one must draw a distinction between them, since two different and even opposing ideas are involved. By ‘patriotism’ I mean devotion to a particular place and a particular way of life, which one believes to be the best in the world but has no wish to force on other people. Patriotism is of its nature defensive, both militarily and culturally. Nationalism, on the other hand, is inseparable from the desire for power. The abiding purpose of every nationalist is to secure more power and more prestige, not for himself but for the nation or other unit in which he has chosen to sink his own individuality.</blockquote>

The whole essay is worth a read; you’ll find yourself nodding in recognition at many points. More succinctly, Jen Sorensen’s Patriotism vs. Nationalism comic (https://thenib.com/nationalism-isn-t-patriotism/, excerpted above) and Zach Weinersmith’s An Important Distinction comic (https://www.smbc-comics.com/comic/an-important-distinction, below) cover some of the same ground.

See also a more progressive definition of freedom (https://kottke.org/18/08/offering-a-more-progressive-definition-of-freedom )."]]></description>
<dc:subject>2024 patriotism nationalism georgeorwell fascism authoritarianism jensorensen zachweinersmith comics politics behavior loyalty supremacy</dc:subject>
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    <title>Why the Short-Lived Calvin and Hobbes Is Still One of the Most Beloved &amp; Influential Comic Strips | Open Culture</title>
    <dc:date>2024-04-23T06:41:05+00:00</dc:date>
    <link>https://www.openculture.com/2024/04/why-the-short-lived-calvin-and-hobbes-is-still-one-of-the-most-beloved-and-influential-comic-strips.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>calvinandhobbes billwatterson 2024 comics criticism history</dc:subject>
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    <title>Episode 211: The Copyright Conundrum — Fansplaining</title>
    <dc:date>2024-03-01T18:21:35+00:00</dc:date>
    <link>https://www.fansplaining.com/episodes/211-the-copyright-conundrum</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Episode 211, “The Copyright Conundrum,” Flourish and Elizabeth welcome prolific fic writer and copyright expert EarlGreyTea68 back to the podcast to discuss her new Fansplaining article, “How U.S. Copyright Law Fails Fan Creators.” After giving a little primer on copyright, trademark, fair use, and how they all intersect with fandom, EGT discusses the ways current U.S. intellectual property law is unequipped to deal with non-monetized creativity—and how the system fails everyone but the big publishers and studios. They also discuss copyright and AI, and whether copyright claims have the potential to take down LLMs and AI tools."]]></description>
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</item>
<item rdf:about="https://www.silversprocket.net/">
    <title>Silver Sprocket – Radical indie publisher, art-crew, gallery, and comic shop</title>
    <dc:date>2023-11-08T20:14:16+00:00</dc:date>
    <link>https://www.silversprocket.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Silver Sprocket is an independent publisher championing socially conscious and independently produced comic books, graphic novels, and related arts.

Originally a punk music label, Silver Sprocket transitioned to publishing comics in 2016. Since then, we have built a home for original, artist-owned work, including Your Black Friend and Other Strangers by Ben Passmore, Catboy by Benji Nate, Be Kind, My Neighbor by Yugo Limbo, and American Cult edited by Robyn Chapman.

When in San Francisco, please visit our retail store and gallery, or attend one of our regular educational and community events."]]></description>
<dc:subject>sanfrancisco themission publishing comics graphicnovels missiondistrict</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2023/10/30/the-mysteries-bill-watterson-book-review">
    <title>Bill Watterson’s Life After “Calvin and Hobbes” | The New Yorker</title>
    <dc:date>2023-11-02T22:57:09+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2023/10/30/the-mysteries-bill-watterson-book-review</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>billwatterson 2023 rivkagalchen calvinandhobbes comics</dc:subject>
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<item rdf:about="https://thenib.com/im-a-luddite/">
    <title>I’m a Luddite (and So Can You!) | The Nib</title>
    <dc:date>2023-09-02T20:21:37+00:00</dc:date>
    <link>https://thenib.com/im-a-luddite/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What the Luddites can teach us about resisting an automated future."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=jnm5WcQkzeI">
    <title>Introducing Patricia Highsmith [T. Howe] - YouTube</title>
    <dc:date>2022-10-03T21:39:56+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jnm5WcQkzeI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It was a brief documentary (16 minutes length) of Patricia Highsmith by T.Howe which enrolled in a class of Major Authors for panel discussion of The Talented Mr Ripley. Carol/The Price of Salt was also mentioned around 3:42 in this video."]]></description>
<dc:subject>patriciahighsmith writing howwewrite thowe documentary biography literature learning howwelearn typing liberalarts film autobiography scriptwriting comics graphicnovels freelancing comicbooks gender identity sexuality typewriters therapy psychoanalysis</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=KUqtEJ9U-e8">
    <title>Typographics 2017: Uncharacteristic Characters with Jonathan Hoefler - YouTube</title>
    <dc:date>2022-08-25T14:37:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=KUqtEJ9U-e8</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jonathanhoefler 2017 typography design fonts graphicdesign maps mapping dictionaries ui typefaces lexicography words meaning meaningmaking lettering lamguage communication charlesschultz peanuts snoopy charliebrown edwardgorey text howwewrite italics blackletter script calligraphy sketching context style comics writing dialog conversation</dc:subject>
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<item rdf:about="http://www.scottmccloud.com/4-inventions/canvas/">
    <title>scottmccloud.com - The &quot;Infinite Canvas&quot;</title>
    <dc:date>2022-04-05T06:23:58+00:00</dc:date>
    <link>http://www.scottmccloud.com/4-inventions/canvas/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>scottmccloud comics writing howwewrite graphicnovels 2009 digital publishing ebooks books print</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:43e1be24e089/</dc:identifier>
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<item rdf:about="https://bittersoutherner.com/summer-voices-guest-editor/wayne-white/southern-baby-talk">
    <title>Southern Baby Talk — THE BITTER SOUTHERNER</title>
    <dc:date>2021-07-01T21:22:51+00:00</dc:date>
    <link>https://bittersoutherner.com/summer-voices-guest-editor/wayne-white/southern-baby-talk</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>language south 2021 comics howwetalk</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:995d2e419294/</dc:identifier>
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</item>
<item rdf:about="https://thenib.com/mister-gotcha/">
    <title>Mister Gotcha | The Nib</title>
    <dc:date>2021-02-24T18:34:06+00:00</dc:date>
    <link>https://thenib.com/mister-gotcha/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>internet humor comics society capitalism web online 2016 mattbors</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8d00d8ba0277/</dc:identifier>
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</item>
<item rdf:about="https://catalinabu.com/">
    <title>Catalina bu – ilustración</title>
    <dc:date>2020-12-09T00:31:06+00:00</dc:date>
    <link>https://catalinabu.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Catalina Bustos Mendoza (Catalina Bu) nació en Concepción, Chile en 1989. Estudió Ilustración profesional y luego de trabajar para distintas marcas y revistas nacionales, hizo un cómic. Su primer libro, Diario de un Solo (Catalonia, 2014) se editó bajo el sello Tusquets en México y ha sido traducido al portugués (Sesi-SP) y al francés (La Cafetieriè éditions). Ha sido invitada en ferias internacionales del libro en Colombia, México, Argentina e Italia, y expuesto colectivamente en Madrid y Bolonia. El 2017 inaugura su primera muestra individual llamada Mundo, en Santiago de Chile (Plop Galería) y lanza el libro infantil Libro Libre (Hueders). El 2018 fue invitada como exponente a la primera Bienal de Ilustración (Pictoline) y al Gran Salón México en el Museo Tamayo, donde presentó la serie Dibujos de Dibujantes, incluida en su más reciente libro recopilatorio ‘En Blanco’ (Almadía, 2019). Actualmente se dedica a la ilustración editorial y publicitaria.”

[See also:
https://www.youtube.com/watch?v=x-DY9YKCFEg
https://pelham.cl/blogs/news/diario-de-un-solo-nueva-coleccion-especial ]]]></description>
<dc:subject>catalinabu chile illustration comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8148d0884fdc/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=x-DY9YKCFEg">
    <title>Catalina Bu: &quot;Me gusta hablar de cosas que nos pasan a todos&quot; - YouTube</title>
    <dc:date>2020-12-09T00:26:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=x-DY9YKCFEg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Conversamos con la ilustradora chilena Catalina Bu, autora de dos volúmenes del “Diario de un solo”, publicados por editorial Catalonia el 2014 y 2015 . Abordamos la creación de personajes, el uso del color azul —tan característico en su obra—, la simpleza de su ilustración y cómo es pasar de lo digital al papel.

Entrevista realizada por Patricio Contreras.”

[See also:
https://catalinabu.com/
https://pelham.cl/blogs/news/diario-de-un-solo-nueva-coleccion-especial ]]]></description>
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    <title>The Polymath, or the Life and Opinions of Samuel R. Delany, Gentleman on Vimeo</title>
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    <dc:creator>robertogreco</dc:creator><dc:subject>samueldelany video polymaths intellectualism writing comics contradiction contradictions curiosity boundaries art howwewrite philosophy howweteach pedagogy fredbarneytaylor</dc:subject>
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<item rdf:about="https://a9.io/glue-comic/">
    <title>Chatting with Glue: Cognitive Tools for Augmented Conversation</title>
    <dc:date>2020-05-12T02:28:39+00:00</dc:date>
    <link>https://a9.io/glue-comic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.youtube.com/watch?v=NMzr-qsv188
https://twitter.com/RobertHaisfield/status/1260287297511022593

https://twitter.com/maxkriegers/status/1259168597429096450 ]]]></description>
<dc:subject>comics writing reading howwelearn howweread howwewrite 2020 chat text conversation linearity alinear cognition maxkrieger via:steelemaley wandering time citation references communication online internet nonlinear</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:32c445d88dd4/</dc:identifier>
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<item rdf:about="https://thenib.com/black-and-red">
    <title>Black and Red - by Tanna Tucker and Nestor Castillo</title>
    <dc:date>2019-07-11T04:30:35+00:00</dc:date>
    <link>https://thenib.com/black-and-red</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The history of Black Socialism in America"

by Tanna Tucker and Nestor Castillo]]></description>
<dc:subject>tannatucker nestorcastillo 2018 history socialism blacksocialism race racism us economics activism blackpanthers blackpantherparty labor work blackpower communism russia sovietunion unions jimcrow 1919 redsummer willbrown roberthill chicago arkansas omaha nebraska elaine cyrilbriggs society africanbloodbrotherhood nyc claudemckay jedgarhoover fredhampton woodrowwilson hattyhaywood richardmoore ottohuiswoud gracecampbell ussr capitalism keeanga-yamahttataylor blacklivesmatter fbi comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c5905e724552/</dc:identifier>
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<item rdf:about="https://www.newyorker.com/books/page-turner/on-a-sunbeam-the-sci-fi-comic-that-reimagines-utopia">
    <title>“On a Sunbeam,” the Sci-Fi Comic That Reimagines Utopia | The New Yorker</title>
    <dc:date>2019-06-02T22:05:49+00:00</dc:date>
    <link>https://www.newyorker.com/books/page-turner/on-a-sunbeam-the-sci-fi-comic-that-reimagines-utopia</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Full comic available to read online:
https://www.onasunbeam.com/ ]

[See also:
https://www.tilliewalden.com/
https://www.instagram.com/tilliewalden/
https://twitter.com/TillieWalden ]

"Tillie Walden is an almost shockingly young (born in 1996) comics creator who received wide attention last year for “Spinning,” a beautiful, melancholy graphic memoir about her years as a pre-teen and then teen figure skater. That book excelled in its tactful line work and use of white space; it looked neither superhero-ish nor ugly-on-purpose nor nearly realist but utterly sympathetic, with vast cold rinks and faces whose expressions you could share. “Spinning” was also a coming-out story, and a school story, and what scholars call a Künstlerroman, the story of how a young person becomes an artist—although, like most Künstlerromanen, it left unresolved the question of what she’d make next.

“On a Sunbeam” is the magnificent, sweeping, science-fictional answer. The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

But I’m getting ahead of myself. “On a Sunbeam”—whose five hundred and thirty-eight pages, rendered in three colors, first appeared serially, online, where it can still be read for free—begins, like some Victorian novels, with two separate plots and settings, years apart. In the A plot, we meet three adult engineers and construction workers who fly their own fish-shaped spaceship from job to job, rebuilding and restoring architecture from their past (which is our distant future). The charismatic, impulsive Alma reports to Charlotte, their cautious commander; Elliot, “our very own mechanical genius,” is nonbinary (taking they/them pronouns) and non-speaking, like many autistic adults in our day. Formerly a trio “together for ages,” the team now has two younger employees: Jules, Alma’s voluble niece, and the anxious newbie Mia, fresh out of her space-based boarding school.

We see through Mia’s eyes, and through Walden’s pen, the comforting intimacy of their sleeping quarters, with its Teddy bears and bunk beds; the sublime ruined space cathedral and the other flying buildings they restore; and the realistic tasks that Mia and Jules slog through—hauling rubble, sharing sandwiches, and trying to “get through a whole day without turning into jelly” from overwork. We worry when Mia worries, and we have fun when she has fun. Jules puts into words the way Mia feels: “We don’t actually do this job to fix things,” she says. “We do it ’cause we get to climb and jump off stuff.”

Before she joined this close-knit crew, Mia attended an élite boarding school. This is where Walden sets her B plot, a place of crushes, mean girls, shifting rivalries, vast halls, anti-gravity stations, and a school-wide, slightly Quidditch-like sport called Lux, whose fish-shaped flight craft race and dodge through tunnels and in midair. Almost as soon as we meet Mia, she falls hard for a new and far more academically talented student named Grace, who reciprocates. Grace convinces a forbidding coach to let Mia chase her dream of playing Lux. The sport is normally off limits to first-years, but our couple won’t let that rule stop them. “We may be freshmen,” Grace declares, “but you can’t put an age limit on passion and dedication.”

“On a Sunbeam” is less like any other American comic, page by page, than it is like a film by Hayao Miyazaki. For Walden, faces and bodies are not types or dummies for action scenes but ways to convey emotion and expression, even as the backdrops—speleological, astronomical, aquatic, or forested—flourish and shine. Walden’s dialogue—never talky, but never too sparse to follow—complements her characters’ body language; it also brings out the feeling of ninth and tenth grade, when every impediment seems like an apocalypse, and every kind word like an angel’s violin. But that dialogue is also a clue to a set of cosmic mysteries that connect younger and older characters, present and backstory, A plot and B plot. Why does Charlotte’s employer distrust her? What does Elliott fear, and why can’t they go home? Can Mia and Jules adjust to life with this tightly knit, and apparently romantic, triad? Will Mia find love?

Mia has already found it, with Grace, and then lost it. Just as in “Spinning”—and in several other comics by Walden, short and long—our point-of-view character fell hard for a smart, dark-skinned girl when both were in their teens, and then that girl left, suddenly, and without much explanation. In “Spinning,” the real Walden goes on with her heartbroken life. In this much longer but equally heartbreaking epic, the school-age couple of Mia and Grace break up for far more complex reasons, and a mission to a secluded planet of volcanic tunnels and warriors with Amish hats (really) is required to rescue Grace, who may not want to be rescued.

It’s probably no coincidence that this comic, so sensitive to its characters’ feelings, is also uncommonly sensitive to newly visible identities: non-speaking autistics, people in triads, people trying to make queer romance work under pressure and across a racial divide. One identity Walden doesn’t draw: men. There are none here, and no one asks why, which means—as in earlier utopias—that all romantic love in this universe would read as queer, or gay, in ours. (Since there are no men, there are no gay men or trans men; perhaps they live on other planets, or in other books.)

Like all science-fictional utopias, “On a Sunbeam” feels imperfect, even (to quote Ursula K. Le Guin) “ambiguous.” But it also feels magnificent: it’s a world in which many readers would want to live, and a way to envision solutions to real-life problems that seem intractable now. It’s a queer love story in a universe where benevolent authorities still get things wrong; it’s also, for all its spacecraft and planets and xenogeology and (eventually) aliens, a story that purists might label not as science fiction but as science fantasy. But such genre labels—though inevitable—seem beside the point. As always for Walden, even when she is writing and drawing pilots and engineers, the point is not how things work but how people feel, and what choices they help one another make.

Comics critics and would-be comics sophisticates—especially the kind who spurn superheroes—may think we have to choose between realistic characters who experience permanent loss and change, on the one hand, and escape, sublimity, and sheer wonder, on the other. Those sophisticates are wrong. “On a Sunbeam” is not the first American science-fiction comic to say so (consider “Finder,” or “Saga”), but it may be the most consistently beautiful, the most self-assured, the one with the best love story, and the one most vaultingly effective in its transitions between small-scale and large, between the deadly caverns under an exoplanet’s mountain and the look on a hopeful girl’s face."]]></description>
<dc:subject>comics toread stephanieburt tilliewalden 2018 illustration storytelling utopia queer autism sciencefiction scifi hayaomiyazaki emotions expression nonbinary künstlerroman comingofage teens youngadult fiction srg emotion bodylanguage howwewrite ambiguous ursulaleguin ursulakleguin</dc:subject>
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<item rdf:about="https://xkcd.com/1434/">
    <title>xkcd: Where Do Birds Go</title>
    <dc:date>2019-05-06T21:28:44+00:00</dc:date>
    <link>https://xkcd.com/1434/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "It’s been raining a good deal here in central Texas recently, and whenever the rain comes and the birds disappear from our bird feeders I have the same thought, one which is memorialized in one of my favorite xkcd comics."
https://buttondown.email/ayjay/archive/notebooks-a-monk-and-the-death-of-a-poet/ ]]]></description>
<dc:subject>via:ayjay birds rain weather humanism nature interconnected universal universalism xkcd comics interconnectedness interconnectivity randallmonroe</dc:subject>
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<item rdf:about="https://www.japantimes.co.jp/culture/2016/11/26/books/book-reviews/dark-bittersweet-childhood-becomes-manga-masterpiece/">
    <title>A dark, bittersweet childhood becomes a manga masterpiece | The Japan Times</title>
    <dc:date>2019-01-09T22:59:19+00:00</dc:date>
    <link>https://www.japantimes.co.jp/culture/2016/11/26/books/book-reviews/dark-bittersweet-childhood-becomes-manga-masterpiece/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>taiyomatsumoto manga sunny 2016 comics childhood taiyōmatsumoto</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://wheretheycreate.com/Yuichi-Yokoyama">
    <title>Yuichi Yokoyama - Where They Create</title>
    <dc:date>2018-11-29T02:44:14+00:00</dc:date>
    <link>https://wheretheycreate.com/Yuichi-Yokoyama</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>yuichiyokoyama manga comics artists</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=UquYkECJvSc">
    <title>Ricardo Cavolo - Periferias en El Independiente - YouTube</title>
    <dc:date>2018-10-28T20:46:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UquYkECJvSc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.elconfidencial.com/cultura/2017-01-28/ricardo-cavolo-periferias-libro-ilustracion_1320492/

<blockquote>Este libro, subraya, "es un ejercicio de amor que quiero que sirva de protesta para levantar la voz y hacer ver a la gente que tiene que cambiar la mirada, pero evidentemente es un ejercicio para darles cariño". De esta selección destaca esas periferias humanas con las que arranca el libro como las más personales. Especialmente los gitanos, pero también la comunidad trap —"en Estados Unidos los negros son como los gitanos para lo bueno y para lo malo. Es un colectivo en el que me fijo e inspiro"— o las mujeres soldados kurdas — "una nueva versión de aquellos 300 espartanos que se hicieron valer con coraje y honor por un fin superior"—.</blockquote>

https://www.elnacional.cat/ca/cultura-idees-arts/ricardo-cavolo-periferias_134232_102.html

<blockquote>Ricardo Cavolo publica el seu àlbum Periferias (Lundwerg) que es presenta com un homenatge als "altres", a aquells que per motius geogràfics, físics, d'orientació sexual o pel motiu que sigui se surten de les pautes de la normalitat. Per les seves pàgines hi passen presos, siamesos, albins, gitanos, guerrilleres kurdes... Però no només hi ha individus i col·lectius, també inclou territoris, com les illes Fèroe, o Tristao d'Acunha; i animals poc coneguts, com el tapir, el pangolí o la hiena. O fins i tot afegeix el que anomena "perifèries vegetals", plantes i bolets que tenen formes insospitades, com les molses, els bolets fosforescents o les roses de Jericó (unes petites plantes que es conserven durant anys seques i que reviuen quan se les mulla)... I el llibre es clou amb un homenatge a artistes i literats fora dels circuits habituals, com Lovecraft, William Blake o Sam Doyle. Tot un cant a la diversitat del món, dels seus éssers, dels seus homes i dels seus creadors.</blockquote>

https://www.youtube.com/watch?v=W5g9Uoo4k8s
https://guardianadelibros.blogspot.com/2017/01/periferias.html
https://www.amazon.com/Periferias-Gran-libro-ilustrado-extraordinario/dp/8416489696

https://ricardocavolo.com/
https://www.instagram.com/ricardocavolo/
https://twitter.com/RicardoCavolo

https://elpais.com/cultura/2013/04/17/tentaciones/1366194108_667727.html ]

[via: 
"“Periferias” tells the stories of people (and places and plants and animals) that sit outside of what’s typically understood as “normal,” living at the periphery. I bought it even though I can’t even read it properly. I love that this exists."
https://www.instagram.com/p/BpfYl5UBIem/ ]]]></description>
<dc:subject>ricardocavolo periferias periphery margins liminality liminal 2017 comics illustration gypsies sexuality outcasts edges outsiders betweenness romani roma inbetweenness inbetween between</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:roma"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inbetween"/>
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</item>
<item rdf:about="https://www.are.na/blog/case%20study/2017/10/17/breaking-the-sequence.html#digital-and-game-comics">
    <title>Are.na / Blog – Breaking the Sequence</title>
    <dc:date>2018-06-24T20:16:28+00:00</dc:date>
    <link>https://www.are.na/blog/case%20study/2017/10/17/breaking-the-sequence.html#digital-and-game-comics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When I created the channel on which this case study is based, I put the whole title in quotation marks—“experimental” “comics”—and initially made it private, wary that my descriptors were either too broad or too limiting. Categorizing these works as experimental, or even as comics, served as little more than to create a placeholder. This is where I would collect and organize works that didn’t quite look like any comics I’d seen before, but that I liked a whole lot, and wasn’t entirely sure why.

As the channel grew, patterns arose, and it became clear that the comics that read to me as experimental were ones that integrated aesthetic principles and practices from fine art, graphic design, experimental music, sculpture, architecture, poetry, video games, and text adventures. They often didn’t employ the typical narrative devices—dialogue, plot, climax, even characters—but they still told a story. Sometimes it was the form that I identified as experimental, other times it was the processes by which they were made.

That explained the experimental. But if these works were so genre-fluid, what kept them considered comics?

In a lecture, the writer and webcomics artist Daniel Merlin Goodbrey provides a helpful outline of characteristics that are distinct to comics as a visual medium. Defining the norm gave me a framework for understanding the works that deviate from it. Goodbrey’s characteristics were a useful jumping off point for articulating what the works I was collecting were doing, and why they struck me so powerfully. They are:

Juxtaposition of images
Spatial networks
Space as Time
Temporal Maps
Closure between Images
Word & Image Blending
Reader Control of Pacing

Experimental comics, then, are works that acknowledge the traditional framework of comics but, rather than adhere to it, tend to tilt, twist, and warp it into other things. This case study offers a survey of comics that abandon one or more of these characteristics, honoring innovations by artists, video game designers, poets, and educators alike. It should go without saying that these categories are by no means mutually exclusive. There are comics that exist outside of and in between these make-shift categories. As you may expect, there are very few rules.

1. Abstract Formalist Comics
2. Comics Poetry
3. Digital and Game Comics
4. Scores, Maps, and Designed Constraints"

[each of those four examples is expanded on in the following text with images and videos to explain]]]></description>
<dc:subject>sheafitzpatrick comics form design are.na 2017 graphicnovels art poetry games gaming videogames space time words images experimental</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a81d5ec5d80f/</dc:identifier>
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</item>
<item rdf:about="http://falseknees.com/">
    <title>False Knees</title>
    <dc:date>2018-06-03T02:46:32+00:00</dc:date>
    <link>http://falseknees.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>comics nature multispecies birds animals morethanhuman via:robinsloan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:af0f81a69f57/</dc:identifier>
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</item>
<item rdf:about="https://xkcd.com/1984/">
    <title>xkcd: Misinterpretation</title>
    <dc:date>2018-04-24T03:24:50+00:00</dc:date>
    <link>https://xkcd.com/1984/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>xkcd communication misinterpretation humor comics randallmonroe</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:60bcb636206f/</dc:identifier>
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</item>
<item rdf:about="https://www.newyorker.com/humor/daily-shouts/reasons-i-cant-sleep">
    <title>Reasons I Can’t Sleep | The New Yorker</title>
    <dc:date>2018-04-24T00:27:12+00:00</dc:date>
    <link>https://www.newyorker.com/humor/daily-shouts/reasons-i-cant-sleep</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sleep comics jasonadamkatzenstein philmcandrew insomnia society anxiety mentalhealth work labor technology socialmedia netflix</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86e72b88dc39/</dc:identifier>
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<item rdf:about="https://notes.pinboard.in/u:robertogreco/2be267a5b3e0ae26268c">
    <title>Black Panther references</title>
    <dc:date>2018-02-25T02:09:23+00:00</dc:date>
    <link>https://notes.pinboard.in/u:robertogreco/2be267a5b3e0ae26268c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[a collection of articles and readers on the film]]]></description>
<dc:subject>blackpanther wakanda blackpantherparter film blackness marvel comics politics acting urban urbanism design cities accents language africa diaspora fashion clothing history oakland ryangoogler race racism matriarchy patriarchy feminism ruthecarter rahawahaile jelanicobb vannnewkirk afrofuturism kenricklamar</dc:subject>
<dc:source>https://notes.pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7cc99d2985dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vannnewkirk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:afrofuturism"/>
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</item>
<item rdf:about="https://vimeo.com/254733356">
    <title>W. Kamau Bell Doesn’t Want to Fit In on Vimeo</title>
    <dc:date>2018-02-21T04:57:02+00:00</dc:date>
    <link>https://vimeo.com/254733356</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://gitamba.com/post/171045406081/comedian-w-kamau-bell-struggled-with-his-identity

"Comedian W. Kamau Bell struggled with his identity growing up. As a self-described “nerd,” he favored martial arts over basketball and rock over hip-hop. This struggle carried over into adulthood and his early efforts at standup comedy. At one point, he even considered giving up comedy entirely. It was at this crossroads that Bell stumbled upon a Rolling Stone article, which became the catalyst for him finding his own voice. Since then, Bell has gone on to headline shows across the country, host a CNN series, and document it all in his book “The Awkward Thoughts of W. Kamau Bell.”"]]]></description>
<dc:subject>wkamaubell 2018 comedy identity blackness outsiders comics adulthood comedians hiphop martialarts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2652ae6539bf/</dc:identifier>
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<item rdf:about="https://theweek.com/articles/747423/sterilization-condorito">
    <title>The sterilization of Condorito</title>
    <dc:date>2018-01-19T05:53:50+00:00</dc:date>
    <link>https://theweek.com/articles/747423/sterilization-condorito</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>condorito chile lililoofbourow comics 2018 film animation disney latinamerica</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://eprints.lse.ac.uk/85947/">
    <title>Cartoon abstract: Ethnography? Participant observation, a potentially revolutionary praxis - LSE Research Online</title>
    <dc:date>2018-01-06T22:39:57+00:00</dc:date>
    <link>http://eprints.lse.ac.uk/85947/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A comic strip visualisation of the 2017 article Ethnography? Participant observation, a potentially revolutionary praxis by Alpa Shah from the journal HAU: Journal of Ethnographic Theory. Made possible by the article being published under a Creative Commons licence"

["Ethnography? Participant observation, a potentially revolutionary praxis," by Alpa Shah
https://www.haujournal.org/index.php/hau/article/view/hau7.1.008

"This essay focuses on the core of ethnographic research—participant observation—to argue that it is a potentially revolutionary praxis because it forces us to question our theoretical presuppositions about the world, produce knowledge that is new, was confined to the margins, or was silenced. It is argued that participant observation is not merely a method of anthropology but is a form of production of knowledge through being and action; it is praxis, the process by which theory is dialectically produced and realized in action. Four core aspects of participation observation are discussed as long duration (long-term engagement), revealing social relations of a group of people (understanding a group of people and their social processes), holism (studying all aspects of social life, marking its fundamental democracy), and the dialectical relationship between intimacy and estrangement (befriending strangers). Though the risks and limits of participant observation are outlined, as are the tensions between activism and anthropology, it is argued that engaging in participant observation is a profoundly political act, one that can enable us to challenge hegemonic conceptions of the world, challenge authority, and better act in the world."]

[via: 
"A comic adaptation of 'participant observation as a potentially revolutionary praxis,' my @haujournal essay on ethnography! Thanks @kazmantra and @LSELibrary! @davidgraeber @MikeSav47032563 @AmEthno @AmericanAnthro @britsoci @TheSocReview @CMcGranahan @culanth @news4anthros"
https://twitter.com/alpashah001/status/948233738483388417 ]]]></description>
<dc:subject>ethnography karenrubins alpashah anthropology srg comics 2017 research observation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2064d01db187/</dc:identifier>
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<item rdf:about="https://psmag.com/social-justice/how-comic-books-can-get-even-better-for-dyslexic-readers">
    <title>How Comic Books Can Get Even Better for Dyslexic Readers - Pacific Standard</title>
    <dc:date>2017-12-04T04:43:55+00:00</dc:date>
    <link>https://psmag.com/social-justice/how-comic-books-can-get-even-better-for-dyslexic-readers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[While the medium is relatively accessible for people with reading difficulties, its lettering norms are still leaving some behind.]]></description>
<dc:subject>dyslexia comics graphicnovels disability disabilities 2017 lettering christinero accessibility reading</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d632f2d6e0fa/</dc:identifier>
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</item>
<item rdf:about="http://bureau-spectacular.net/">
    <title>Bureau Spectacular</title>
    <dc:date>2017-08-02T23:14:41+00:00</dc:date>
    <link>http://bureau-spectacular.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["BUREAU SPECTACULAR is an operation of architectural affairs founded and led by Jimenez Lai since 2008. It is located in Los Angeles.
 
BUREAU SPECTACULAR imagines other worlds and engages the design of architecture through telling stories. Beautiful stories about character development, relationships, curiosities and attitudes; absurd stories about fake realities that invite enticing possibilities. The stories conflate design, representation, theory, criticism, history and taste into cartoon pages. These cartoon narratives swerve into the physical world through architectural installations, models and small buildings.

BUREAU SPECTACULAR is a group of individuals who practice architecture through the contemplation of art, history, politics, sociology, linguistics, mathematics, graphic design, technology, and storytelling. We often find ourselves at the crossroads of all disciplines, yet comfortably embracing the healthy intersections between the many intellectual human discourses."

…

"JIMENEZ LAI works in the world of art, architecture and education. Previously, Jimenez Lai lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including MOS and OMA. Lai is widely exhibited and published around the world, including the MoMA-collected White Elephant. His first book, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum as a part of the show Younger Than Jesus. Lai has won various awards, including the Architectural League Prize for Young Architects and Debut Award at the Lisbon Triennale. In 2014, Lai designed theTaiwan Pavilion at the 14th Venice Architectural Biennale. In 2015, Lai organized the Treatise exhibition and publication series at the Graham Foundation.  In 2017, Lai and his studio exhibited a large scale installation at SFMOMA based on the drawing insideoutsidebetweenbeyond, 2014 which the Museum acquired in 2015.

 

JOANNA GRANT received her M.Arch from Princeton University. She has worked for architecture offices in Los Angeles, Chicago, Guangzhou, and Shenzhen for a diverse range of internationally renowned firms, including the L.A. based firm, Johnston Marklee & Associates. She has previously worked with Beatriz Colomina on a research projects of couples in architecture, as well as the Danish office ADEPT Architects in their Chinese satellite firm. In 2013 she became a member of Bureau Spectacular, assisting in multiple competitions in which they were awarded honorable mentions or finalists, and the winning proposal for the Taiwan pavilion for the 2014 Venice Biennale. Joanna curates the blog "Cloudzwatching," which features student design work from schools across the United States. She has contributed to Conditions Magazine and Nova Organa, and recently organized a conference at Princeton University called "& Delight" with Kevin Pazik. Her work has been described as "Takashi Murakami meets Mario Botta." She likes rainbowy, cute and fluffy architecture. And Postmodernism."

[via: https://www.sfmoma.org/exhibition/bureau-spectacular/ ]

See also some posts about the SFMOMA exhibit: 
http://archinect.com/features/article/149995194/new-bureau-spectacular-exhibition-at-sfmoma-explores-the-narrative-properties-of-architecture
https://archpaper.com/2017/02/bureau-spectacular-insideoutsidebetweenbeyond-exhibition/
https://www.dezeen.com/2017/03/10/bureau-spectacular-shows-fantastical-architectural-models-san-francisco-museum-modern-art-sfmoma/ ]

[See also: "Citizens of No Place"
http://graphic-novel-architecture.com/#/lai/
https://www.amazon.com/Citizens-No-Place-Architectural-Graphic/dp/1616890622
http://www.papress.com/html/product.details.dna?isbn=9781616890629
http://www.archdaily.com/253563/citizens-of-no-place-jimenez-lai

See also: "When I Grow Up"
http://miamirail.org/spring-2017/when-i-grow-up/
http://bureau-spectacular.net/when-i-grow-up/ ]]]></description>
<dc:subject>jimenezlai architects comics design architecture bureauspectacular sfmoma sfsh classideas joannagrant education art</dc:subject>
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</item>
<item rdf:about="http://cartoonistsofcolor.com/">
    <title>Cartoonists of Color Database</title>
    <dc:date>2017-07-01T17:51:46+00:00</dc:date>
    <link>http://cartoonistsofcolor.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to the Cartoonists of Color Database!
Here you can find the names and information of almost 1,000
cartoonists of color (people-of-color comic book creators)."

[See also:

LGBTQ Cartoonists of Color
http://cartoonistsofcolor.com/coc-LGBTQ.html

Women and Non-binary Cartoonists of Color
http://cartoonistsofcolor.com/coc-nonmale.html

Cartoonists of Color
http://cartoonistsofcolor.com/coc-database.html ]]]></description>
<dc:subject>cartoons comics poc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b96937ae8f73/</dc:identifier>
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</item>
<item rdf:about="http://www.comixexperience.com/">
    <title>Comix Experience</title>
    <dc:date>2017-06-26T20:35:50+00:00</dc:date>
    <link>http://www.comixexperience.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Comix Experience is San Francisco's oldest and most diverse comic book and graphic novel store, with two locations to serve you. Our Divisadero Street location specializes in graphic novels, with The City's widest-by-far inventory of books in every genre and style imaginable, while our Ocean Avenue store specializes in back issue comic books with a deep and eclectic inventory of all of your favorite comic books from the past.

Whichever store you visit, you'll quickly see that Comix Experience doesn't just like comics, we LOVE comics, and our friendly, dedicated staff are frankly delighted to help you find the perfect comic no matter what your interests are.

Our new Graphic Novel Club and Kid's Graphic Novel Club [http://www.graphicnovelclub.com/kids.html ] offer monthly curated selections of the best graphic novels, private events with authors and artists, and more.  You can even buy each month's selections and runners up on our online store."

…

"Comix Experience
305 Divisadero St.
San Francisco, CA  94117
(415) 863-9258
http://www.comixexperience.com/divisadero-st.-.html

Comix Experience Outpost
2381 Ocean Ave.
San Francisco, CA  94127
(415) 239-2669
http://www.comixexperience.com/ocean-ave..html "]]></description>
<dc:subject>books bookstores comics sanfrancisco classideas bookclubs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://superheroesincolor.tumblr.com/">
    <title>Superheroes In Full Color</title>
    <dc:date>2017-06-21T18:15:00+00:00</dc:date>
    <link>http://superheroesincolor.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This blog is dedicated to Racial and cultural diversity in comic books and derivative works (film, tv, videogames)"

[See also: https://twitter.com/HeroesInColor00 ]]]></description>
<dc:subject>tumblrs comics superheroes race videogames diversity film tv television</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4163dd9548df/</dc:identifier>
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</item>
<item rdf:about="http://everydayfeminism.com/2017/04/go-educate-themselves-oppressive/#.WO8To5tHYus.twitter">
    <title>How Telling Someone to Go Educate Themselves Can Actually Be Oppressive</title>
    <dc:date>2017-04-15T03:35:19+00:00</dc:date>
    <link>http://everydayfeminism.com/2017/04/go-educate-themselves-oppressive/#.WO8To5tHYus.twitter</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["(Note: This comic has been transcribed below.)

You should never have to push yourself beyond your boundaries to educate someone about your experiences with oppression. And some people, like trolls, just have no genuine interest in an education.

But if you’re wondering why everyone doesn’t just go educate themselves on the Internet, you might be missing something about some other forms of oppression.

The truth is that there are real, valid barriers to accessing social justice education. So check out this comic to help you find a balance between setting your boundaries and having patience with folks who are still learning."]]></description>
<dc:subject>self-education oppression feminism race racism sexuality socialjustice education compassion empathy patience love friendship leelai 2017 comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cc84bbf8c291/</dc:identifier>
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</item>
<item rdf:about="http://www.npr.org/sections/codeswitch/2017/04/05/522749425/changing-colors-in-comics">
    <title>Changing Colors In Comics : Code Switch : NPR</title>
    <dc:date>2017-04-09T18:52:24+00:00</dc:date>
    <link>http://www.npr.org/sections/codeswitch/2017/04/05/522749425/changing-colors-in-comics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gene and guest host Glen Weldon (our play cousin from Pop Culture Happy Hour) explore how comics are used as spaces for mapping race and identity. Gene visits Amalgam Comics and Coffeehouse in Philadelphia and chats with proprietor Ariell Johnson, who is reclaiming the comic book store, which once made her uneasy as a black fan. Meanwhile, C. Spike Trotman, another black woman, has made a name for herself as an online comics publisher of Iron Circus Comics in Chicago. We also talk to artist and designer Ronald Wimberly for his perspective as a black creator who has worked for Marvel and DC, the titans of corporate comics."]]></description>
<dc:subject>comics race arielljohnson cspiketrotmn ironcircuscomics ronaldwimberly marvel dccomics glenweldon 2017</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=vSHL04wgZws">
    <title>Ignite Philly 15: Ariell Johnson - Diversity in Comics - YouTube</title>
    <dc:date>2017-04-09T18:50:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vSHL04wgZws</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"An Interview with Ariell Johnson, Founder of Amalgam Comics: “Everyone Has the Right to Have Their Story Told”"
http://blacknerdproblems.com/an-interview-with-ariell-johnson-founder-of-amalgam-comics-everyone-has-the-right-to-have-their-story-told/

"Why Amalgam Comics & Coffeehouse Owner Ariell Johnson is a Superhero in Her Own Right"
https://www.blacksci-fi.com/why-amalgam-comics-coffeehouse-owner-ariell-johnson-is-a-superhero-in-her-own-right/

"First Black Woman to Open Philly Comic Shop Talks Diversity"
http://www.nbcnews.com/news/nbcblk/first-black-woman-own-east-coast-comic-shop-talks-diversity-n492151

"Meet Ariell Johnson, First Black Female to Open Philly Comic Shop | She's the Boss S3E5"
https://www.youtube.com/watch?v=sIE9rEg8uE0

"Shoot the 5: Ariell Johnson"
https://www.youtube.com/watch?v=nAW5w3GNXcw

""All The Way Up" Geek Girl Edition"
https://www.youtube.com/watch?v=dL6y93N7I0E ]]]></description>
<dc:subject>arielljohnson comics diversity 2016 race religion stereotypes humanity humans difference prejudice</dc:subject>
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</item>
<item rdf:about="http://ateliersento.com/post/143902478926/onibi-a-comic-book-about-the-invisible-spirits">
    <title>Atelier Sentô: ONIBI</title>
    <dc:date>2017-01-02T03:17:15+00:00</dc:date>
    <link>http://ateliersento.com/post/143902478926/onibi-a-comic-book-about-the-invisible-spirits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/RedCityNoise/status/814952354856497152 ]

"ONIBI, a comic book about the invisible spirits haunting the Japanese countryside"

[translation:

"By Cécile Brun & Olivier Pichard (Atelier Sento)

Hidden on the edge of a country trail or in the shadow of a temple, Japanese spirits, foxes, tanuki and other yokai look out for the lost traveler in hopes of playing tricks on him. Cécile and Olivier, freshly installed by the sea of ​​Japan in Niigata, buy an old device a little special supposed to print these spirits on the film. In their quest to take pictures, they portray a Japan in balance between two worlds.

Despite the modernization of the country, the Japanese still often take the ghost stories very seriously. The stories of yokai and other spirits remain very present and anchored in popular folklore." ]

[See also:
https://www.behance.net/gallery/43663113/Onibi-graphic-novel
http://www.issekinicho.fr/editions/produit/onibi/
https://www.youtube.com/watch?v=KxKy5tgjsAE
https://www.youtube.com/watch?v=1VMthfDUlrA
http://ateliersento.com/post/154816258060/an-interview-video-by-jeremy-meets-japan-a-month
https://www.youtube.com/watch?v=k5fT-d1jEWE ]]]></description>
<dc:subject>comics comicbooks graphicnovels japan spirits classideas books sfsh onibi folklore cécilebrun olivierpichard ateliersentô</dc:subject>
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</item>
<item rdf:about="http://mariafrohlich.tumblr.com/">
    <title>Maria Fröhlich</title>
    <dc:date>2016-11-05T22:38:45+00:00</dc:date>
    <link>http://mariafrohlich.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[["Comic artist and illustrator from the dark woods of northern Sweden."
http://mariafrohlich.daportfolio.com/about/ ]

[See also: 
https://www.instagram.com/mariafrohlichart/ 
https://twitter.com/MariaFrohlich ]

[via: http://us6.campaign-archive2.com/?u=88819455cab0b1139f96cec4d&id=6cb5179504

"The image above is part of the concept art for Maria Fröhlich's book Tales from Miraclecity. Her illustration blog features a society brimming with people of color — especially children — playing and exploring in a world both present and future." ]]]></description>
<dc:subject>mariafröhlich illustration sweden peopleofcolor scifi sciencefiction future comics graphicnovels tumblrs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:14ccbd19cd3b/</dc:identifier>
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</item>
<item rdf:about="http://tumblr.austinkleon.com/post/119907764966">
    <title>Austin Kleon — Tove Jansson, Moomin: The Deluxe Anniversary...</title>
    <dc:date>2016-07-26T22:32:25+00:00</dc:date>
    <link>http://tumblr.austinkleon.com/post/119907764966</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tove Jansson, Moomin: The Deluxe Anniversary Edition

When my son Owen was born, all I seemed to be able to read was old collections of Nancy comics. After my son Jules was born a few months ago, I would lie down and read a few pages of Moomin.

The comics are so, so wonderful. (See this documentary about Tove Jansson’s life.) My wife and I have been joking a lot that we’re Moominmama and Moominpapa:  

The only downside to the collection is that it’s a big honking book and can be kind of cumbersome to read in bed: 

I ended up splurging and buying a bunch of these “Enfant” editions, which have been colorized by Drawn & Quarterly and come in nice little paperbacks (one story per book). Here are some images from Moomin on the Riviera: 

Highly, highly, highly, recommended."]]></description>
<dc:subject>tovejansson austinkleon moomin 2015 comics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://digitalsynopsis.com/inspiration/privileged-kids-on-a-plate-pencilsword-toby-morris/">
    <title>This Brilliant Comic Strip On Rich Vs Poor Upbringing Will Humble You</title>
    <dc:date>2016-07-23T05:43:46+00:00</dc:date>
    <link>http://digitalsynopsis.com/inspiration/privileged-kids-on-a-plate-pencilsword-toby-morris/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>inequality poverty comics via:lukeneff education life tobymorris</dc:subject>
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<item rdf:about="http://www.newyorker.com/books/page-turner/here-comes-hilda">
    <title>Here Comes Hilda - The New Yorker</title>
    <dc:date>2016-06-24T18:15:22+00:00</dc:date>
    <link>http://www.newyorker.com/books/page-turner/here-comes-hilda</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It began, as adventures often do, with a trip: a family holiday in Norway, parents and their teen-agers, that seemed entirely straightforward at the time. “My imagination was really going for it on that trip—the landscape of the place stuck with me,” Luke Pearson, the British author of the Hildafolk series of graphic novels, told me. “At the time, I was reading about trolls and daydreaming, knowing I wanted to do something with that one day.”

Next, there was a map. “When I was at university, everyone who studied illustration was given a project to do an illustrated map of a country, and I was given Iceland,” he said. “I made a map of Icelandic folktales—you can still play it.” Move the digital clouds on Pearson’s “Hidden Iceland” and see, in their shadows, the giants and sprites and Viking ships just beneath that country’s peaks and fjords.

Finally, there was a girl: Hilda, now the star of four (soon to be five) comics. Netflix is planning a twelve-episode animated series, based on the first four books, for early 2018. The fifth book, “Hilda and the Stone Forest,” comes out in September.

When Pearson was still in school, in 2009, he submitted a one-page drawing to a competition run by Nobrow, now his publisher. “She’s basically wearing her outfit”—beret, scarf, red top, blue skirt, and big red boots—Pearson said, of Hilda. “She’s standing at the end of a pier, with a Scandinavian-esque city behind her and all kinds of creatures around, including a giant troll and a zeppelin in the sky.” A similar scene occurs in the third Hilda book, “Hilda and the Bird Parade,” but at the beginning Pearson didn’t have a story, just this “curious image” of a small girl with blue hair and a question: “Where is she and what does she get up to?”

What she gets up to is a string of adventures, first in the Heidi-esque hills above Trolberg, and then in the city itself—a move made (spoiler alert!) after a giant steps on the cozy ancestral cottage that she shares with her mother. That Hilda herself has long been a giant to a set of thumb-size invisible elves, living on the same patch of grass that her cabin sits on, is just another part of a life in which mythical creatures hide within mountains and behind bureau drawers. (There’s a lot of unused space in Hilda’s house, you see.)

For such a small girl, Hilda is about to get very big, and I am not at all surprised. My five-year-old daughter brought the first book home from a friend’s house, and it took reading only the first few pages, beautifully laid out, with the rich color palette of a Nordic sweater, to know that Hilda was something special. Trolberg may have a complex of bell towers (bells keep trolls at bay, we learn), but it also has a glassy downtown à la Houston. “All of these stories are riffs on folktales that are as old as time, that have taken a hard left turn through Luke’s imagination and all of these contemporary pop-cultural sensibilities,” Kurt Mueller, the executive vice-president at Silvergate Media, which will produce the Hilda series, said. (The company’s other series include “The Octonauts” and “Peter Rabbit.”) “Like the movies of Miyazaki, she feels totally of the moment, but she’s reacting to something that feels ancient and archetypal,” Mueller said. The nostalgic Northern European setting recalls Miyazaki’s romanticism, while Hilda’s communion with the conjoined natural and spirit worlds recalls San from “Princess Mononoke” or Satsuki from “My Neighbor Totoro.”

My first point of comparison was Lewis Carroll’s Alice, though Pearson said that he never thought of her. But, greeted by a little girl in an unchanging outfit, who is confronted with all manner of creatures great and small, in landscapes giant and miniaturized, who else are we to think of? What’s markedly different with Hilda is the attitude with which she greets her wonderland. She does not fall down a hole but strides, prepared with sketchbook and satchel, into the wind and weather. The first words of the first book, “Hilda and the Troll,” are delivered by a radio announcer: “But tonight clouds rolling in from the east . . . temperatures remain mild . . . with the likelihood of heavy rain.” Hilda, reading a tome on trolls at the breakfast table, rushes outside her red, peak-roofed cabin to see storm clouds forming over an adjacent peak. “Mum! Mum! It’s going to rain tonight! Can I sleep in the tent?” And Mum says yes.

Pearson’s aesthetic is sophisticated for the often candy-colored world of children’s animation, and the plots fit neatly into a number of present-day parenting preoccupations. Do children need dream time or organized activities? Nature or urban exploration? Pearson himself is too young to have friends with kids, so one suspects that his sensitivity to children’s desire for independence, combined with a need for a secure nest, may stem from his own childhood. Hilda’s mum wants her to have friends, to go to school, to participate in organized activities, but Hilda is always wandering off, learning Scout lessons on her own terms. Pearson says the scenes of the Sparrow Scouts were taken directly from his own Cub Scout experiences, down to the design of the church hall in which they meet (made of Nordic wood rather than Tamworth brick).

In the countryside, Hilda runs free, but the city brings greater conflict between her and her mother—who works from home at a drafting board, perhaps as an architect or an illustrator. Pearson’s panels are filled with such suggestive details, rewarding the close and repeated reading of small children. One of my daughter’s favorite spreads is at the back of the paperback version of “Hilda and the Troll”: a glimpse of Hilda’s realistically messy desk and shelves, stocked with Easter eggs from this and future tales, allowing young readers to put a few things together for themselves. Pearson extends the respect he has for Hilda to his audience, giving it room to discover the good kind of troll for themselves.

Pearson’s utter lack of pretension keeps Hilda feeling fresh, while his reading of folktales and Tove Jansson’s Moomin series embeds Hilda in the long history of children’s stories. Spunky heroines abound, but they don’t always speak to the present day. Hilda’s dilemmas, while fantastic, also feel real: Does she throw a rock at a pigeon to fit in? Does mother know best? Can one, or both, of them draw their way out of their latest adventure? Pearson has found a lovely new way to dramatize childhood demons, while also making you long for your own cruise down the fjords."

[See also:
https://islingtoncomic.blogspot.sg/2012/05/hilda-and-midnight-giant.html
http://www.tcj.com/i-wanted-a-character-who-was-very-positive-an-interview-with-luke-pearson/
http://www.hoodedutilitarian.com/2014/09/how-to-read-hilda/
http://comicsalliance.com/learning-and-inspiring-in-luke-pearsons-hilda-comics-review/
https://thebookwormbaby.blogspot.com/2016/02/the-amazing-world-of-hilda.html ]]]></description>
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<item rdf:about="http://charactermodel.tumblr.com/">
    <title>CHARACTER MODEL</title>
    <dc:date>2016-02-23T07:07:56+00:00</dc:date>
    <link>http://charactermodel.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Concept Character Art, Character Model Sheets from Games, Movies, Comics, Toys and Animation. Some good Fanart too."]]></description>
<dc:subject>tumblrs art characterdesign comics television film animation games videogames gaming toys via:robinsloan</dc:subject>
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<item rdf:about="http://zenpencils.com/comic/frida/">
    <title>ZEN PENCILS » 177. FRIDA KAHLO: Strange like me</title>
    <dc:date>2015-12-26T06:23:38+00:00</dc:date>
    <link>http://zenpencils.com/comic/frida/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://remezcla.com/culture/this-frida-kahlo-inspired-cartoon-will-get-you-through-hump-day/ ]]]></description>
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<item rdf:about="https://aeon.co/essays/how-masks-explain-the-psychology-behind-online-harassment">
    <title>How masks explain the psychology behind online haras...</title>
    <dc:date>2015-12-22T19:08:42+00:00</dc:date>
    <link>https://aeon.co/essays/how-masks-explain-the-psychology-behind-online-harassment</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every human culture has used masks for ritual disinhibition, shaming and play. Is being online the ultimate masquerade?"

…

"Everywhere there are masks, we find this pattern of transgression. In medieval Venice, where masks were common fashion accessories, various laws testify to their anarchic tendencies. Masks were subject to a curfew, and could not be worn after dark. Mask-wearers were prohibited from carrying weapons or entering a church, and men were forbidden to wear masks in a convent. A law from 1268 forbids the apparently common practice of putting on a mask and throwing eggs full of rose water at ladies.

In the 16th and 17th centuries, the fashion for mask-wearing spread to women all over Europe. Typically made of silk and velvet, these masks were first popularised as a means of protecting one’s complexion from the sun – and one’s modesty from the gaze of impertinent men. But women soon realised that masks also protected one’s identity, and began to wear them when they were up to no good. Sometimes, that just meant attending the theatre – frowned upon because of the indecency of the performances, and the audience. But a mask also allowed a lady to flirt outrageously without losing her reputation, and was an indispensable accessory when sneaking off to an assignation. In short, as soon as people put on masks they begin to violate social norms.

In psychology, this effect is known as ‘disinhibition’, and there’s a rich research literature on masks as disinhibiting props. In a typical experiment in 1976, researchers at Western Illinois University paid students to walk around their campus cafeteria carrying a banner reading: ‘Masturbation is fun.’ Students who were allowed to wear a ski mask were willing to do it for an average of $29.98, while bare-faced students demanded almost twice as much. A 1979 study at Purdue University found that trick-or-treating children, when left alone with a bowl of candy and told to take just one piece, were significantly more likely to grab a handful if their costumes included masks. This was true even when they had already told the researchers their names.

Identical patterns appear when people interact online. In the article ‘The Online Disinhibition Effect’ (2004), the psychologist John Suler at Rider University in New Jersey distinguishes benign disinhibition (a tendency for people to be more open when communicating virtually) from toxic disinhibition. A study in 2000 for the National Household Survey on Drug Abuse found that people reported more drug use when questionnaires were administered by computer instead of in person. In research published in 1996 by scientists at the National Opinion Research Center in Chicago established that, when dealing with a computer (as opposed to a human interviewer), male respondents report having fewer sexual partners – and women more. Various other researchers, including Adam Joinson in Bristol and Joseph Walther at Cornell, have found that people disclose more personal information chatting online, as opposed to speaking face-to-face. These are all positive examples of the liberating influence of online masking. As Suler notes: ‘Hostile words in a chat encounter could be a therapeutic breakthrough for some people.’

But online life is also riddled with toxic disinhibition. A Pew survey in 2014 found that 40 per cent of adult internet users reported being harassed online. Most harassment consisted of insults and verbal humiliation, but 8 per cent of respondents said they’d experienced physical threats, and 7 per cent had been the targets of a sustained campaign of harassment. The problem is much worse among young people: 70 per cent of those aged 18-24 claimed to be victims of online harassment. A Johns Hopkins University study in 2007 found that 64 per cent of bullied children were exclusively attacked online. That is, many children who were habitual bullies on social media would completely refrain from this behaviour when meeting their victims in person.

The uncomfortable message is that online mask-wearing doesn’t just conceal one’s identity, it transforms it – just as with ritual mask-wearers possessed by unruly gods. These effects are strongly amplified by a sense of the activity as separate from ‘real’ life. Suler calls this phenomenon ‘dissociative imagination’, commenting: ‘people may feel that the imaginary characters they “created” exist in a different space, that one’s online persona… [inhabits] a make-believe dimension, separate and apart from the demands and responsibilities of the real world.’"

…

"Updated and transferred online, both the masked avenger and the Schandmaske reappear in the phenomenon of internet shaming, where a crowd of strangers come together to punish someone, usually for an offensive statement. These campaigns can quickly escalate from insults to death threats, and almost always include demands that the target be fired from their job – demands that are often gratified by intimidated employers. Targets are also ‘doxxed’, meaning that their personal details are published online – a practice that combines the symbolic unmasking of the lucha libre wrestler with the implied threat of real-world violence. Most of the aggressors are masked by anonymity. All are operating in the world of the computer screen, where the consequences of actions – losing one’s livelihood for a single off-colour joke – can be seen as symbolic, not quite real.

An essential part of internet shaming is that the target is reduced to a single definition: they are made to wear the mask of the Sexist or the Racist (or the Angry Feminist or the Race-Baiter). Then, just as with the medieval Scold’s Bridle, a mob gathers to throw filth and insults at the idea represented by the mask. The other qualities of its wearer, and the suffering they experience, remain out of sight, and mind.

These considerations might make both masks and online communication seem dangerous and uncanny; a thing we would be well-advised to avoid, since much of our social life has overtones of a mask experience. We go to work and wear a professional mask, then come home and adopt a parental mask. We even have specific personas that go with individual friends. As Johnstone writes:

<blockquote>We don’t realise that much of our lives is spent in some form of trance, ie absorbed. What we assume to be ‘normal consciousness’ is actually quite rare, it’s like the light in the refrigerator: when you look in, there you are ON, but what’s happening when you don’t look in?</blockquote>

These mask states have a purpose. Role-playing provides us with a suite of shortcuts, facilitating behaviours that might feel false or embarrassing to our ‘true’ selves (think of making polite small talk, or singing nonsense songs to a three-year-old). When people see us in terms of these masks, we’re mostly content to let them do so. We do not interrupt business meetings by saying: ‘Hold on – I also have a range of tender emotions’, or break into a romantic moment by saying: ‘These clichéd endearments don’t fit very well with my usual idea of myself.’ And in fact, the self might just be an agglomeration of masks, of all the roles we play, including the roles we play in private fantasies; a personal Mardi Gras that parades multifariously through our lives.

So the point is not that we should always be our ‘true’ selves – an aim that is probably impossible, and certainly impractical. Instead, we should learn to understand the power of the masks we wear. We should cultivate an awareness of when we’re being unduly ‘possessed’ by them, and practise the invaluable skill of tearing them off in a timely fashion. We should resist any angry impulse to pick up a mask that carries a streak of sadism. When others are trying to impose a ‘punishment mask’ on someone else, we should have the courage to intervene. Above all, we should remember that, behind the masked figures that surround us, there are people as vulnerable, fallible, as real as ourselves."]]></description>
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<item rdf:about="http://kernelmag.dailydot.com/issue-sections/staff-editorials/14571/rich-spider-man-steve-jobs/">
    <title>Being rich isn’t a superpower, and Steve Jobs isn’t Spider-Man</title>
    <dc:date>2015-10-12T06:21:08+00:00</dc:date>
    <link>http://kernelmag.dailydot.com/issue-sections/staff-editorials/14571/rich-spider-man-steve-jobs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every age gets the heroes it deserves—or rather, the heroes it needs to do a certain kind of cultural work. Superhero stories have become our Greek dramas — popular entertainment built around larger-than-life figures with rich histories playing out complex fables of power, morality, and democracy. We tell the stories over and over again, either taking their characters back to their roots or placing them in fresh scenarios. We use these stories to explore new fantasies and solve new problems.

There are many issues playing themselves out in contemporary superhero stories—race and gender representation, surveillance and militarization, LGBT rights and identities, to name just a few. It’s strange, however, that one of the most important is one of the least talked-about: the disproportionate power wielded by the rich, whether wealthy individuals or wealthy societies. Wealth may be the buried theme of both contemporary comics and contemporary politics. Talking about superheroes and superpowers without talking about money misses an enormous part of the story—not least because the business of superheroes is bigger than ever, and the companies behind our most popular superheroes are some of the largest conglomerates in the world.

Now, it’s true that many superheroes have been rich: Batman’s Bruce Wayne and Iron Man’s Tony Stark were created as millionaire playboys decades ago. And this makes sense. As Spider-Man’s adventures showed for years, super-heroics don’t pay the bills: it’s difficult being a gadget-driven superhero (or any kind of superhero) without first having money to burn. But over time, Bruce Wayne stopped being just an idle heir and Tony Stark stopped being just an eccentric arms dealer, and both became hero figures much more recognizable to the 21st century: the genius entrepreneur. These characters are less Howard Hughes (the original model for Tony Stark) and more Elon Musk, less J. Robert Oppenheimer and more Mark Zuckerberg. They are brilliant futurists, larger than life—the people we ask to show us the future, and hope that they will help make the world one worth saving.

We don’t have warriors and war heroes at the center of our popular consciousness any more; we don’t have kings and queens, gods or monsters. We have entrepreneurs and superheroes: incarnations of a myth of the heroic individual. These are the titanic figures, at the junction of capitalism and futurism, whose actions have disproportionate effects on our world—actions and effects the rest of us are trying to grapple with. The Social Network, Steve Jobs (both the book and the movie), Ashlee Vance’s biography Elon Musk, Sheryl Sandberg’s Lean In—all are about businesses and entrepreneurship but also have a strong element of inspiration and self-help, and not just for budding business leaders but the larger public, to a degree we haven’t seen since the days of Thomas Edison and Henry Ford.

They offer, in short, much the same appeal as comic books.

The sociologist Thomas Streeter argues in “Steve Jobs, Romantic Individualism, and the Desire for Good Capitalism” that these myths play an important role in contemporary culture. For Streeter:

<blockquote>The romanticized version of Jobs’ life offers a story wherein one can imagine a capitalism with integrity, a capitalism where one’s inner life, one’s flaws, one’s passions are appreciated and lead to good things. The Jobs narrative offers the appealing vision of an idealized, productive, humane capitalism contrasted with the speculative, predatory kind of capitalism, unconnected to useful objects or activities, that appeared in the headlines after 2008. The name of Steve Jobs has become the symbol for the opposite of a Wall Street financial manipulator. Jobs functions, not always but often, as a signifier of good capitalism, of industrial capitalism with moral integrity. And in a world straining awkwardly, perhaps desperately, for ways to reconcile capitalist production with political democracy, that signifier can seem immensely useful and attractive.</blockquote>

Now consider The Amazing Spider-Man #1. Peter Parker is still a superhero, a good guy—so the story’s authors go out of their way to dot every I and cross every T to make sure we know that he’s still a good guy, one still obsessed with “great responsibility.” Parker explains that his goal with Parker Industries isn’t to save the world—which superheroes do every day—but to “make a world worth saving.” Over the course of the issue, we learn that his factories in China pay fair wages, that he’s taken a minimum salary, and that along with consumer products, the company works on biotechnology and renewable energy. When SHIELD helps Spider-Man stop thieves who’ve made off with Parker Industries’ customer data, Spider-Man strong-arms Nick Fury into handing the data back without the government taking a peek. He’s even started an “Uncle Ben Foundation” with the vague but noble mandate of “going around the globe using Parker Industries technology to help the less fortunate and raise the quality of life wherever we can.” It’s half Gates Foundation, half Batman Incorporated.

“We’re not here to build a fortune,” Parker says, “we’re here to build the future.” In short, as a businessman, a superhero, and a human being, the new Peter Parker, the world’s greatest self-made superhero, is impeccably, improbably, offensively good. Peter Parker is what you get if you tally our persistent anxieties about the power and personality of Jobs, Zuckerberg, Bezos, et al—and then just alleviate them: the perfectly polished superhero entrepreneur. If the real Steve Jobs is not available to serve as our imaginary heroic capitalist—whether because his personality is too flawed, the businesses he built are too imperfect, or simply because we can’t continue to tell new stories about him—Spider-Man is available forever.

This is not to say that all CEO superheroes are as perfect as Peter Parker. For Bruce Wayne, Tony Stark, Reed Richards, Oliver Queen, and other wealthy superheroes, exploring business gives the writers room to explore the characters’ flaws and mistakes: their obsessiveness, their addictions, their immaturity. In fact, often these characters can sometimes seem barely likable. But in many ways—just as with Steve Jobs—this focus on flaws is still an act of reconciliation and never really jars the premise that the story being told is the story of a hero. The assumption remains that, barring a mind swap with a supervillain or a mystical personality reversal, these men (and it’s almost always men) are fundamentally good.

On the outside they may be flaky, boorish, and arrogant. Still, they feel things, have powerful value systems, and ultimately want most of all to improve the world—if not save it. If they were not superheroes, Tony Stark and Bruce Wayne would be awful people. (They also resemble many young men in the worlds of business and technology.) Because we know Stark and Wayne are superheroes—and because we intimately know the history and personality traits that drive them—we forgive them everything. (Can you think of a better way to try to understand Elon Musk?) Despite their flaws, our superheroes are what we want our capitalists to be.

More subtly, they also give us tools we can use to understand ourselves—to reconcile our own wealth and power relative to others, our own status as citizens of global superpowers in a world filled with injustice, a world needing to be saved."

…

"In recent years, there have been a handful of comic book stories where superpowers have become consumer goods. MGH (mutant growth hormone), Xperience, and Kick are all mutant-derived drugs that induce or boost superpowers. All of them are addictive and deadly in various degrees.

But in a recent storyline, Iron Man/Tony Stark suffers a magic reversal spell that changes his personality. “Evil” Stark moves to San Francisco, where he creates a smartphone application and nanobot stack that lets users change their bodies to whatever they want, including boosted intelligence, health, beauty, and even immortality. Initially, he gives away the powers for free, but when adoption peaks, he remotely shuts them down, charging $99.99 a day for continued activation. The wealthy continue enjoying superhuman life, desperate users turned to crime, and Stark’s company makes a killing. Eventually, employee/love-interest Pepper Potts stops him, with the aid of a robot programmed with Stark’s old “good” personality. When that fails, Potts—a talented and quite wealthy business mind in her own right—buys out media outlets and blackmails Stark with the promise to expose the scheme.

The Superior Iron Man is literally a story of good capitalist versus bad capitalist, masquerading as a critique of contemporary tech culture. But the funny thing is that the “evil” Tony Stark doesn’t seem all that different from the “good” Tony Stark of past years. A little more craven, a little more louche, less evil than he is amoral. The difference between superheroes and supervillains turns out to be little more than a matter of perspective and degree.

It is tempting to think of our new capabilities as superpowers, because that makes us, in some way, superheroes. It is tempting to think of the inventors of our new technologies as heroes, icons, brilliant men and women of vision and ethics who overcame their own limitations and external opposition to save the day. It means that to cheer for them is to cheer for good. It means we live in a world that is both more magical and more ordered—even more human— than the one we know. It is much more distressing to ask ourselves, “What if we are not the hero in the story? What if we are not even the villain? What if the story was never even ours at all?”"]]></description>
<dc:subject>2015 timcarmody superpowers superheroes comics stevejobs technology wealth capitalism thomasstreeter marcandreessen tonystark ironman spider-man brucewayne batman siliconvalley elonmusk peterparker howardhughes jrobertoppenheimer markzuckerberg inequality robertoppenheimer oppenheimer</dc:subject>
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<item rdf:about="http://thewireless.co.nz/articles/the-pencilsword-on-a-plate">
    <title>The Pencilsword: On a plate - The Wireless</title>
    <dc:date>2015-08-30T06:46:16+00:00</dc:date>
    <link>http://thewireless.co.nz/articles/the-pencilsword-on-a-plate</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>privilege luck culture comics class 2015 inequality</dc:subject>
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<item rdf:about="http://www.modernpolaxis.com/">
    <title>MODERN POLAXIS</title>
    <dc:date>2015-08-13T16:51:12+00:00</dc:date>
    <link>http://www.modernpolaxis.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Modern Polaxis is a paranoid time traveller. Polaxis writes about all his strange experiences in his private journal. BUT, all his secret information, his paranoid delusions and conspiracy theories, he hides that away in a layer of Augmented Reality. Get the app and the book to hear and see the world as Polaxis sees it.

Story
Polaxis believes the world we live in is a holographic projection from another plane in the universe. This projection is known as Intafrag and is patrolled by Intafrag agents. The agents monitor glitches and pursue time travelling fugitives. Polaxis believes he is one of these fugitives. But, he can't quite prove any of this because he was pretty wasted the last time he time travelled. Polaxis must hurry, for IF the fabric of our reality is merely a flickering light, what happens when someone flicks the switch off?

Creators
Written, Illustrated and animated by: SUTU
Programming by: Lukasz Karluk
Music by: Lhasa Mencur"


[See also: 
https://itunes.apple.com/au/app/polaxis/id550870541
https://vimeo.com/108436404

"(┛`д´)┛ Sutu is an interactive comic artist and the creator of Modern Polaxis, Nawlz and Neomad. www.sutueatsflies.com www.modernpolaxis.com"
http://www.sutueatsflies.com/
https://instagram.com/sutueatsflies/
http://sutueatsflies.tumblr.com/ ]

[via: https://instagram.com/p/6UJOlHpjqb/ ]]]></description>
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<item rdf:about="http://www.avclub.com/article/calvin-and-hobbes-embodied-voice-lonely-child-220226">
    <title>Calvin And Hobbes embodied the voice of the lonely child · For Our Consideration · The A.V. Club</title>
    <dc:date>2015-06-11T08:26:53+00:00</dc:date>
    <link>http://www.avclub.com/article/calvin-and-hobbes-embodied-voice-lonely-child-220226</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a mythic Calvin And Hobbes strip that’s been bouncing around the internet for years. No one’s quite sure where it came from or who’s responsible for it. Part of its mystery is likely because it’s purported to be the lost final installment of the series, drawn by Bill Watterson himself. In it, a serious looking Calvin toils away at his schoolwork while Hobbes looks on. The tiger is curious that his friend is being so diligent about his studies, and the boy responds that “the pills” he’s taking have started working. Hobbes then asks Calvin to go play, but Calvin is too absorbed in his project to take notice. The final panel is the tiger as “just” a stuffed animal, with Calvin indifferent to the change. It is, in every sense of the word, an abomination.

This is not an actual installment of Calvin And Hobbes, and is instead a repurposed strip with a preachy message warning against the dangers of medicating children and ruining their creativity forever. There are any number of ways that this goes against the inherent spirit of the comic, but I will focus my disdain to a single point. Calvin And Hobbes was never about hyperactivity and Hobbes himself was never a manifestation of undiagnosed mania: He was a manifestation of pure, unadulterated loneliness.

Loneliness is a funny thing because generally it has less to do with being alone and more to do with not having other people around. That sounds paradoxical, but being alone and being isolated from your peers are two very different things. The former is a choice, the latter a decree. In truth, it’s even more complicated than that, as loneliness can strike at any time, even when surrounded by people. That niggling sense that maybe you don’t belong is all it needs to gain a foothold.

For as much as the brain of a child is growing and changing and maturing, for as many distractions as the world provides to developing minds, kids aren’t stupid, particularly children as highly sensitive and attuned to the world around them as Calvin. Disappearing into his own world is a coping mechanism for dealing with a world that seems to have little patience or place for him. His isolation breeds fantasy, which breeds isolation, which does him no favors at school or at home. To be a lonely child in the world means creating your own fun, your own friends, your own magic.

…

Calvin didn’t have trouble focusing on the world around him, he had trouble reconciling himself to the fact that the world around him was such a disappointment. The reason the strip appealed to people both young and old is because Calvin was feeling underwhelmed at a college graduate level. It’s not unheard of for children to experience this, particularly those who are more sensitive to their surroundings, and for many it was a relief to know that seeing the world without the luster and facade constantly created for us wasn’t so unusual. Calvin made it okay to be disheartened and disappointed by life and normalized the inherent loneliness that childhood can bring. He was there for us as we grew up and while we learned that things were capable of getting so much better and so much worse as we experienced puberty and beyond, he was still mired in the first grade, raging against the machine.

It’s quite the thing to sit down and read 10 years of a comic strip at once. It’s a comfort, like going home, the jokes warm and familiar. You grin when you come across the Sunday strips that served as the inspiration for the book collection titles, “Something Under The Bed is Drooling,” “Homicidal Psycho Jungle Cat.” And though the strips are the same as they’ve ever been, you’ve come to them as a different person. Reading Calvin And Hobbes when you’re 33 is different from reading it when you’re 13. Now you’re struck by the struggle Calvin’s parents must have had keeping their child in line and loving him even as he drove them out of their minds, and you wonder if their single-income home would still be feasible in the current economic climate. But more than anything, you notice the sorrow buried in the strips, and you wonder how you missed how sad the children in the strips were the whole time.

Loneliness and sadness aren’t new fare for comic strips. If anything, Watterson’s characters are merely carrying on in the grand tradition of Charles Schultz’s Peanuts, where preternaturally clever children are nevertheless stymied by the world they live in. Like Peanuts, Calvin And Hobbes is timeless for the exact same reason: It appealed to adults just as much as it appealed to children. It spoke of things not always acknowledged in polite company, how people are mean, how we wish we had more friends, how being grown up seems weird and being a child even weirder, how the world doesn’t make sense, and how it’s hard to believe in things even though we desperately want to believe in them.

Calvin was a lot of things, just like every child. He was a budding inventor, a gifted artist, an enterprising entrepreneur, and a self-taught pundit. He was a good friend, an annoying neighbor, clever and conniving, lonely and loyal and, yeah, maybe a little hyperactive. But whatever he was, he taught an entire generation of children that though sadness and disappointment and loneliness may come prepackaged in life, that all could be weathered, so long as you had hope and a really good friend to see you through. For Calvin, that was Hobbes. For us, it was Calvin And Hobbes. And when the strip ended its 10 year run in 1995, it left in its wake a generation of children who, though now grown, could move forward in life confident that their magical friend would be with them always."

[Update: Tim Carmody put this in a small collection about loneliness: https://twitter.com/tcarmody/status/609837487414988800 ]]]></description>
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    <title>xkcd: Emojic 8 Ball</title>
    <dc:date>2015-05-15T06:22:11+00:00</dc:date>
    <link>http://xkcd.com/1525/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>xkcd emoji comics 2015 randallmonroe</dc:subject>
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    <title>❤ ❤ ❤ ❤ ❤ [New Leaf comic on Animal Crossing]</title>
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